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Great pianists of the 20th century, Clara Haskil (I)
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Description du produit
Clara Haskil fut une artiste exceptionnelle qui, durant sa longue carrière, ne cessa de combattre une scoliose aiguë avec force et courage. Gênée, handicapée par cette grave maladie, Clara Haskil fit pourtant une grande carrière internationale. Sa réputation la précédait et chacun de ses concerts donnait lieu à de grands moments musicaux. Sa principale qualité était sans doute sa grande clarté de jeu. Sous ses doigts, la plus touffue des partitions devenait d'une limpidité exceptionnelle. Ses Mozart, dont le meilleur est réuni sur ce double album, restent encore aujourd'hui une parfaite référence. -- Pierre Graveleau
Commentaires client les plus utiles sur Amazon.com
Richter almost equals her in his Praga 31/2, but I miss impetuousity in his EMI 31/2. She unleashes prodigious technique in the Abegg Variations, all in the service of not quite runaway fantasy. Kinderscenen is gentler, more pastoral, an extended song of innocence expressed by an artist who has experienced much pain but retained a capacity for fun and play. Her Schubert Sonata D960 contains no fog or gauze. The second theme of the first movement is quite quick side but projects depth. She plays the second movement sympathetically but, paradoxically, with the extreme facility that reveals/intimates a metaphysical quest while concealing it. She reminds me most of de Larrocha in the final two movements-great rhythmic elasticity in the service
of the dance-both pounce on Schubertian dance here.
The Mozart works here are flawless- Twinkle, Twinkle Little Star Variations adumbrate Kinderscenen; a perfect K330 sonata
whose heart, the second theme of the second movement, is revealed clearly but not overemphasized. I have long considered the K455 Variations Mozart's greatest set, but both Haskil and Alfred Brendel apparently disagree with this view and make
strong cases for theirs. The key to Mozart's k280 is an earlier version of thr second movement of concerto 23-the theme
is not fully developed at this stage, but its underlying pain is still dramatized.
This set is a must. PLEASE NOTE. Inadvertently I reviewed Great Pianists #44 instead of #43 and apologize for the error.
However, I mention her concerti above briefly and have reviewed the following Haskil Mozart concerti on Amazon :
#9 - one version of two couplings of #9 with Otto Ackermann- her best #9 I think
#s 19 and 27 on DG with Fricsay/BPO/DG
#s 20 and 24 with Markevitch/Lamoreux/ Philips
IN RE other concerto recordings, her best Schumann concerto is with Willem Van Otterloo/Hague SO/Philips
Her Beethoven concerto #3 with Markevitch I find disappointing, primarily b/c of tempi which I find
too slow- the Largo, however is quite profound. Her Chopin #2 and De Falla are both great; they dance
with the same facility that movements 3 and 4 of her Schubert Sonata D960 demonstrate. As a non-devotee of Chopin,
I find her lack of dreaminess/cloudiness quite appealing in his second concerto. In her Mozart concerto #13 with
Rudolf Baumgartner on DG, she plays the chamber version for strings only. While I prefer the full orchestra version, this is a sonic spectacular for her with no tempi problems. In the two piano concerto #10 k365 on EMI, Haskil and Geza Anda play beautifully. It was originally coupled with their equally fine Bach concerto BWV 1061 for two keyboards
Concerto peers (no more than four apiece)
Mozart concerto #9: Brendel/Marriner/Philips; Haebler/Rowicki/Philips; Larrocha/Davis/RCA; Gulda/Bohm/Orfeo
" #10: R and P Serkin/Schneider/Sony; Foldes and Seemann/Lehmann/DG; Brendel and Cooper/Marriner/Philips
Haebler and Hoffmann/Galliera/Philips
#13: Full orchestra version: Frager/Tchkarov/Vivace; Brendel/Marriner/Philips;Haebler/Davis/Philips
#19: Larrocha/Segal/Decca; Serkin/Szell/Sony; Pollini/Bohm/DG; Brendel/Marriner/Philips
#20: Serkin/Szell/Sony; Annie Fischer/Lukacs/Hungaraton; Larrocha/Davis/RCA; Goode/Orpheus
#23: Frager/Tchkarov/Vivace; Curzon/Kubelik/Audite; Moravec/Vlach/Supraphon; Serkin/Schneider/Sony
#24: Kempff/Leitner/DG; Pollini/Pollini/DG; Moravec/Marriner/Hanssler; Brendel/Marriner/Philips
#27: Serkin/Ormandy/Sony; Peter Serkin/Silverstein; Haebler/Galliera/Philips;Larrocha/Davis/RCA
Beethoven Concerto #3 : Serkin/Ormandy/Sony; Fleisher/Szell/Sony; Moravec/Neumann/Supraphon; Argerich/Abbado/DG
Schumann Concerto: Serkin/Ormandy/Sony; Frager/Kempe and Horenstein; Monique Haas/Jochum/DG
Chopin Concerto #2: Arrau/Philips; Vasary/DG
Haskil's #13 here is my all-time favorite reading. Baumgartner, perhaps better known for his many fine Bach recordings, is a most sensitive collaborator. He uses Mozart's alternate version for strings only, which seems to enhance the over-all feeling of intimacy in this work.
Paumgartner, a distinguished Mozartean, provides a wonderful partnership with Haskil in the Rondo. On early Epic LPs, Paumgartner also gave us a superb set of the Mozart violin concertos with Arthur Grumiaux (who in turn recorded some excellent Mozart violin/piano sonatas with Haskil). I still prefer those concertos to Grumiaux's later stereo accounts with Colin Davis.
Perhaps the highlight of this entire set is the sublime account of #23 under the Swiss conductor Paul Sacher, who also recorded #9 with Haskil on Epic LP (unfortunately not included here). Sacher was a major figure in 20th Century music (Bartok's Music for Strings, Percussion and Celesta was dedicated to him), and he was the only conductor who died a richer man than Herbert von Karajan (Sacher married an heiress to the Hoffman-LaRoche pharmaceutical empire and died a billionaire). In #23, Haskil and Sacher are wonderfully in sync throughout: a magically lyrical 1st mvt., a serenely beautiful slow mvt., and a sprightly finale, with some lively wind playing (especially by the principal bassoon). This is one of my 3 favorite readings, along with the Kempff/Leitner on DG (arguably the finest of Kempff's stereo recordings) and a long-forgotten Supraphon LP with Helene Boschi and the Czech Phil. under Alois Klima. For me, Haskil's 23rd Concerto by itself more than justifies the purchase of this set.
In the 27th concerto (also available on DG coupled with the Haskil/Fricsay #19), Fricsay is an excellent partner. This is a performance of enormous subtlety - Haskil is at her most ruminative - and it's one of my two favorite accounts, along with Boegner/Ristenpart on MHS LP.
I am not quite so taken with the readings of #20 and #24 under Markevitch, whose aggressive, rather muscular conducting doesn't mesh that well with Haskil's more lyrical style (most noticeably in the 20th). #20 was one of the staples of Haskil's repertoire, and she left several recordings, both studio and "live," that are preferable to this one under Markevitch. Her DG Westminster CD account with Swoboda has some scrappy orchestral playing, but at least the conductor is attuned to Haskil's wavelength (it's coupled with Haskil's lovely Scarlatti sonatas). Her live recording with Munch/BSO on M&A is somewhat better: it's coupled with Haskil's delightful account of #9 under Otto Ackermann. Right now, my favorite Haskil #20 is probably her live recording with Paul Hindemith on a different M&A CD (coupled with Haskil's dazzling performance of Hindemith's Theme & Variations "The Four Temperaments" under the composer's direction). Other readings of #20 that I treasure include the Lefebure/Furtwangler on Ermitage, and Edwin Fischer in the double role of pianist/conductor (Philips). For #24, I still prefer Fischer's live account with the Danish Chamber Orchestra (coupled on an M&A CD with the finest #22 I have ever heard), and Hungarian pianist Sari Biro's tender account with Wilhelm Loibner (on an old Remington LP).
Apparently now deleted, this 2-disc set was recently selling for as little as $9.98 elsewhere on the Internet.
Quibbles aside, this set is a wonderful tribute to a very great pianist.
time and again in these recordings the listenner is lifted into another world...she captures mozart in the most perfect way. no. 20 is just so beautifully played.
my usual taste is for the big romantic concertos, nd mozart is an unnusual choice for me. yet time and again this album comes down from the shelf and is listened to.
there are others who play mozart superbly, but clara haskil, i think, touches us with a little bit of heaven!
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